# Day 35 · Make the guide tell a little story

Explore story mood and deliberate imaginative language for a small guide or ending.

## Teacher preparation

Use the full source in the learner’s usual communication route. Choose a small useful product; models are teaching help, not independent evidence. Note actual help, model exposure and source version. This is a sequence day, not a dated class calendar.

## Complete source C09

Complete original story: Lila wanted visitors to find her paper dragon. She wrote DRAGON over its little box. Then the lamp in the story went out. Lila heard tap, tap from the shelf and pictured the dragon tiptoeing away. Her brother Ren held a spare paper sign and said, “We could put this by the box.” The story ends before anyone checks the shelf.

No final finding, dragon movement or shared feeling is stated. A personal response may differ with reasons.

## Complete source C10

Complete original tiny verse: Paper feet, paper flap. / Fold a corner, tap, tap, tap. / On our drawn and dotted track, / Make a mark, then wander back. This is an invented rhyme about a paper drawing job, not instructions for children to move around.

No compulsory voice, rhythm copying, music skill or physical action is required.

## Six complete teaching moves

1. Read the whole Lila dragon story, including its unfinished ending; a child need not perform or disclose a personal experience.

2. Model lamp goes out and tap, tap as possible mood clues. Keep Lila pictured the dragon moving as a thought, not proof of motion.

3. Read the four complete verse lines if useful. Discuss repeated sounds or rhythm as a reader choice; quiet marking is as valid as saying them aloud.

4. Invite one new story ending or two small verse lines. Allow copying a supplied source for reference, while marking copied words separately from a new contribution.

5. Ask What did you change for that feeling or job? Notice a connected language/setting choice and the child’s own response; do not assign a compulsory feeling.

6. Keep the text private, read it to a willing adult or leave it ready for later. These sources do not fulfil the year’s required breadth of literature by named cultural authors.

## Three meaningful routes

1. Create a playful ending for C09, keeping the original lamp and shelf situation in mind.

2. Use C10’s full verse to choose, keep or change a repeated sound for an imaginary paper job.

3. Use a sketch/sign/AAC or dictated word group to show a possible new setting or feeling; an adult reads the original as often as wanted.

## At a genuinely taught word point

At a taught point, try fold + ed → folded and tap + ed → tapped, explicitly teaching the written final-p doubling only if ready. Untaught spelling is handled by an adult, not called independent.

## Observe a useful contribution

A response links a source language/setting clue or deliberate imaginative change to a reader effect, with a reason.

## Next teaching

Offer a fresh bright shelf setting and ask which words would suit it; reread the original clues before choosing another version.

## Curriculum opportunity

AC9E3LE03, AC9E3LE04, AC9E3LE05, AC9E3LY05

These are partial or conditional opportunities. Adult-read sources do not establish independent reading, handwriting or spelling. Use the full curriculum account and actual school folio.